That's pretty much the old-time country-western equivalent of Cannibal Corpse crashing a One Direction concert and taking over mid-song. And it was completely unintentional. That sudden burst of Satanism arose because guitarist Grady Martin (one of the least metal names ever) wanted to switch to bass for the song's solo. Audio engineer Glen Snoddy (the absolute least metal name ever) couldn't reinforce the recording console in time, and the rumbly bass ended up busting a key fuse. The result was the rock 'n' roll rumble you hear above.
The godfather of badass rock: a man so lame he needed his guitar to remind him who the fuck he was.
Despite his guitar all but suffering a stroke, Martin dug the sound and kept playing while the tape kept recording. Twenty seconds later, the amp completely died and the sound vanished, never to be heard again. Robbins, not a fan of the new sound, wanted to re-record the solo, this time clean as a boring, boring sheet. Luckily, bigger balls prevailed and the solo survived intact.
There was the little matter of re-creating it for stage, though -- something Robbins was adamant about. After endless tinkering with this machine and that, Snoddy invented perhaps the first effects pedal in history: the Maestro Fuzztone. With a simple flick of the switch, a guitarist could now produce fuzzy, distorted sounds without having to destroy expensive equipment in the process. Unless, of course, they wanted to.
"Uh, we still have 45 minutes left ..."
"Hope they like armpit fart solos."
Since nobody anyone had ever heard of was peddling the pedal, it sold like crap at first. Then, a piddling bar band who called themselves The Rolling Stones used it for some filler track called "Satisfaction" and changed rock music forever.
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60 years later, they're still struggling for a follow-up hit.